ENTERTAINMENTS

New Zealand Times, Volume LIV, Issue 12659, 20 January 1927, Page 9

ENTERTAINMENTS

“IS ZAT SO?” i BRIGHT BOXING COMEDY. Tli© fame of this Gfwnedy has preceded it from Australia, and a representative third night crowd settled down to witness an original and amusing comedy full of clever dialogue and laughable situations. The story deals with the adventures .of “Chic” Cowan, a romantic pugilist, who lost a fight' by dreaming about a girl’s ankle in the middle of the contest, and “Hap” Hurley, his trainer, who despairs of his pupil ever making good on account of his fondness for the other sex. The two are down on their luck, and without much prospect of things altering when they happen to hefricnd a drunken man who invites them home. They arrive shortly after the footman and butler in this establishment have left, and are offered the job by their new-found friend, who really wants them in the house in order to get back. into condition in order to thrash his brother-in-law whose conduct to his sister he resents. The house into which they are brought also shelters the little girl that “Chic” befriended some time previously, and “Hap” falls heavily for tho little typiste, who is Mr Parker’s secretary. A strong dramatic interest is infused into the comedy by a series of events in the Parker household, in which “Chic” and his manager take a big part in unmasking a scheme and bringing everything to a happy conclusion. • The comedy situations, however, are the chief reasons for the success of the play, which can best be described as a laughing boxing comedy with Cupid as referee. There is an actual prize-fight on the stage in the second act which provides great excitement. The honours of the evening are shared by Richard Taber and Hale Noroross, as “Chic” Cowan and “Hap” Hurley. The dialogue between these two is at all times entertaining, and the fun is fast and furious when they are on the stag© together. They dominate the play throughout the first act, and before the first curtain fell had succeeded in making a popular hit with the audience. Miss Daphne Bairn played the part of Mrs Parker very oapahly, and Miss Ellen Handley was very effective as Florence, the girl in lave with “Ohio.” Mr Barrie Livesey scored well in the part of Clinton Blackburn, and Claude Saunders very capably portrayed the unthankful part or Parker. A capable oast supported in one of the brightest, and most original comedies seen her© for some time. “Is Zat SoP” will be repeated until Saturday next. Bax plans are at the Bristol.

“THE BIG PARADE” COMING TO DE LUXE. It has been generally recognised by the Press of England, 1 France. Germany and Italy that, apart from the great merit of the picture, an outstanding factor contributing towards the wonderful popularity of Metrd-Goldwyn-Mayer’a epic, “the Big Parade,” is the humanness of the love story and .the realism of the war scenes, which give to the picture the strong international appeal which it undoubtedly possesses. Its advent at the De Luxe Theatre where it begins at to-morrow’s matinee at 2.30. has, been looked forward to with unusual interest, and it is safe to predict that the record successes achieved in Paris, Lflndon, Berlin and New York are likely to be repeated here. : Tb afford everybody a chance tp view film, special matinees have been arranged to take place at 2.30 daily, and an added attraction at these screenings will be the presence of the orchestra, which, under the direction of Miss A. Bfyers, will interpret the original New York music score. At the evening performances a further attracrtion will be the presentation of the dramatic goena with lighting effects, “The Dream of the Big Parade,” which will be rendered by the eminent baritone, Mr Thomas C. Wood. Writing of “The Big Parade,” the “Daily Guardian,” Sydney, said: “But for the accident of uniform “The Big Parade’- might have been an Australian or British war picture. It details the adventures of three infantrymen, and the reactions of the three to war conditions are the reactions of the multitudes who fought in the English-speak-ing armies. Of the acting of Renee Adores, the French girl, John Gilbert, the soldier, and the woman iwho portrays the mother, to say ‘magnificent’ is. to say . the commonplace.” Box plans are available at the Bristol and at Aitken’s, and intending patrons are counselled to avoid probable disappointment by reserving seats early.

GRAND OPERA HOUSE MARIE BURKE IN “KATJA To-morrow morning the box plane will be opened at nine o’clock for the approaching season of “Katin,” the latest J. O. Williamson, Ltd., oomic opera success, in whioh the brilliant Marie Burke will make her reappearance here at the Grand Opera House on Monday night next. There has been an unusual number of applications for seats, particularly for the opening production so evidently local playgoers are going to give Miss Burke and the artists associated with her an enthusiastic welcome in recognition of the part they played in the fateful Queensland railway disaster last year. “Katja” has ' quality not usually associated with the type of musical oomedy produced in recent years, and is suggestive of some of the best Gilbert and Sullivan operas. “11118 is particularly true,” said a critic, recently, “in the first act, when the whole atmosphere of the production is dramatic. Movement begins with tha rise of the curtain, ana it proceeds with a swing to the finale, with a thrilling climax at the end of the seoqnd act. The atmosphere is sustained in every scene, and the production itself develops consistently with the plot. The first act Is operatic, and there is a stirring interlude when Marie Burke, clad in the latest English model based pn Russian design, makes a dramatic entrance, and accompanies her arias with several attractive Russian dances. Act 2 is genuine and brilliantly clever musical comedy. Here the comedians (R. Bnr-rett-Lennard and Cecil Kellaway) rise to their parts, put more body into their acting, and they won admiration by the clever eccentrioities they employ in delineating peculiarities of temperament, and their whimsicalities kept the; audience rocking with laughtei. Again, in\ Act 3, is drama, but of the true comio opera type. The moment the curtain fell on the last scene the audience remained gripped. This denouement was sudden, complete, effective, and most satisfying. In. every art the strong contrast between heavy drama and light comedy is most apparent, and in this respect tho production is most evenly balanced. The fourth' act is most entertaining, and “Katja” is, without any doubt, one of the best, if not the very best, comic

opera; the Australian stage has ever known for many a day.” The production is staged under the personal supervision of Mr Charles A. Wenman. Only a limited number of representations can be staged of “Katja,” and during the brief season that exquisite comic opera, “Wildflower,” will be revived. A special matinee performance of “Katja’’ will he presented on Saturday, January 39th.

AT HIS MAJESTY’S “THE MIDNIGHT FROLICS.” A splendid show is “The Midnight Frolics” now playing to capacity houses at His Majesty’s Theatre. Clem Daws, the' chief comedian of the company is the most popular and the meet amusing performer seen here for many months. “In all the sketches be has the audience in shrieks of laughter, especially when he lets himself go properly. When he sang “Me and My Wife” the audience were convulsed with laughter. Aleo Began makes his vocal hits this week with “Oh, Hew I Love My Darling,” “Cecilia,” and “TJkukele lady,” and is also effective in reciting Emil Cammertz’s poem, “Carillon.” Phyllis Amery, the dainty dansevfse of the oompany was fairy-like in her dance and the Dick Dorothy Trio are excellent in “The Nursemaid and the Soldier,” a dancing sketch. Gregory Ivanoff is heard to advantage in several violin solos, whihh include, “Hungarian Rhapsodic,” “Robin Adair,” and “Old Folks at Home,” Mr Ivanoff also conducts the Frolics Jazz Band in their star number, “Carillon.” Mr Oscar Book’s tenor voice is heard in “Because” and “My Irish Home, Sweet Home.” Miss Dorothy White is attractive in her pink crinoline number, “Ninon,” while Miss Nell Maguire sings a charming number with a male quartet in support. Other valuable aids in the cause of healthy merriment are Eric Edgeley, Les White, and Miss Violet Lester. A oapable orchestra under Mr Ronald Stafford lends material help to an excellent company in an excellent programme, THE REGENT THEATRE “BROWN QFHARVAiRD.” “Brown■’of Harvard” is'the ohief attraction at the Regent Theatre this week. It deals, with the trials and tribulations of Tom Brown, an irrepressible young freshman. Tom falls in lovo with Mary Abbott, and is given a chance to stroke a crew against Yale. But Tom has been drinking the night before, and hia condition tells. Yale wins and Brown finds himself shunned by all. His second chance comes when he is chosen os substitute in the annual Yale v. Harvard football match, and after making a wonderful run he unselfishly passes to his rival, who puts up the winning points for Harvard. But while victory crowns the efforts of Young Tom, his room-mate, Jim Doolittle, dies. Tom and Mary are united, and Tom is elevated to the Dickey Club, the highest honour an under grad may he given. The cast includes William Haines, Mary Brian, and Jack Pickfdrd. There is also a Pathe News, a good comedy, and a New Zealand publicity film. That popular comedian, Syd. Beck, provides the vaudeville portion of the programme, and his songs were well received. A novelty turn is the singing of “I’m Sitting on Top of the World” by Mr Albert Petrie, in synchronisation with a film illustrating the song. The Regent Orchestra (under Mr M. T. Dixon) plays appropriate music with characteristic excellence.